Limit search to items available for checkout
E-BOOK
Title Eugenics, 'aristogenics,' photography : picturing privilege / Kris Belden-Adams.
Imprint Abingdon, Oxon : Routledge, 2021.

Copies/Volumes

LOCATION CALL # STATUS
 Internet  Electronic Book    AVAILABLE
Edition 1st edition
Description 1 online resource : illustrations (black and white)
Bibliog. Includes bibliographical references and index.
Note Available only to authorized UTEP users.
Bio/Hist Note Kris Belden-Adams is Associate Professor of Art History at the University of Mississippi, USA.
Subject Photography -- Social aspects -- United States -- History -- 19th century.
Eugenics -- History -- 19th century.
Photomontage -- History -- 19th century.
Aristocracy (Social class) -- United States -- History -- 19th century -- Pictorial works.
School photography -- Massachusetts -- Boston -- History -- 19th century.
Massachusetts -- Boston.
United States.
Genre History.
Pictorial works.
Electronic books.
Contents Cover -- Half Title -- Title Page -- Copyright Page -- Dedication Page -- Contents -- Illustrations -- Acknowledgments -- Introduction -- Eugenics, "Aristogenics," Photography: Picturing Privilege -- Why Eugenics and "Privilege" Matter Now -- Creating the Ideal, Quashing Deviance -- The US Eugenics Movement: Thriving of "the Fittest" -- 1 Harvard's "Class" Portraits: Composite Pictures and a New England "Aristogenic" Agenda -- The Brahmin Caste of "Semi-aristocrats":"Class" Matters -- The Brahmin Battle Against "Beaten Men from Beaten Races": The Eugenics Solution
Harvard: An Early US Epicenter for Eugenics, "Aristogenics" -- Composite Portraiture: Adopting Galton's Methodologies -- Examining the Archive: Harvard's Class of 1887 Portrait -- Objectivity, Knowledge Production and the Composite -- Composite Portraiture as Brahmin Self-celebration, Self-preservationTactic -- 2 A "Dandy" Masculinity? Establishing and Respecting CisgenderNorms, Using Photography -- Idealizing Masculinity: Heteronormativity and Its Performance -- Policing Norms: Harvard's "Posture Pictures," Sheldon's Atlas of Men
"Queering" the Archive, or Archiving "Queer-ness"?Cisgender Performance and "Homosociality" in George Whitney's Fin-de-Si├Ęcle Photo Albums -- Girl-chasing:Whitney's Cisgender Performance of the Brahmin Socialite -- Unveiling "Homosocial" Tendencies in Whitney's Cisgender Performance -- Archiving "Queer"-ness or "Queer"-ing the Archive? Methodological Reflections -- 3 Social Poise and Demure Confidence: Swaying the College Women to be the Essential Players in Positive Eugenics -- "Intellect Doesn't Count As Much As Ears Do": Producing and Conforming to the Normative Annex Composite "Type"
Composita, the "Mascot" of the Smith College Class of 1886: Constructing Social-casteExpectations, Gender Norms -- Creating "Composita": Picturing a Non-threatening"Bluestocking," WASP/Puritan-Descendant, Nurturing Mother -- Composita as a Manifestation of the Fear of Higher Education's Power to "Make Women into Men" -- "Know Your Place?": Departures from the Ideal Wife and Mother in Composite College Portraits -- Re-Making Composita: Examining "Her" "Masculinization" -- The Rhetorical Complexity of Composite College Portraits -- 4 Biometrics and Posture Pictures: "We Did What We Were Told"
Nineteenth-centuryPosture Pictures: Eugenics Made Visible -- Full-body,Nude Posture Pictures: Modesty's Loss is Data-Collectors' Gain -- "Proper" State of Mind Makes "Proper" Posture? Questioning the Premise of Posture Pictures -- Posture Pictures in Ivy League/Seven Sisters Folklore -- Posture Pictures and Ideal Womanhood: Subjects, Twice Objectified -- Conclusions -- Biometrics in the Digital Era: Why Eugenics and Photographic Data Visualizations Matter Today -- Eugenics, "Aristogenics," Photography: Picturing Privilege -- Index
Summary This is the first study to explore the connections between late-19th-century university/college composite class portraits and the field of eugenics - which first took hold in the United States at Harvard University. Eugenics, "Aristogenics," Photography takes a closer look at how composite portraiture documented an idealized reality of the New England social-caste experience and explains how, when positioned in relation to the individual stories and portraits of members of the class, the portraits reveal points of non-conformity and rebellion with their own rhetoric.
Other Title Original 9781350132351 1350132357